This is possibly an original song by Mudarra, or an arrangement based on a polyphonic settting, or an intabulation of a polyphonic setting, although not the famous setting by Escobar. Neither of option has been demonstrated to be correct. On the one hand, Clamabat autem mulier is the most celebrated composition by Pedro de Escobar (Rees 2004, 468) preserved in the manuscripts Coimbra MM12 and MM 32. The opening is transcribed in Rees 2004, 469) It is clearly not the setting used by Mudarra, although he quotes the tenor melody used at the opening of the Escobar work as his vocal part from c. 116. Mudarra’s designation of the work as “Motete de la Cananea” refers to Gil Vicente’s Auto de la Cananea (1534) inspired by the motet, and which concludes with a performance of the motet. Mudarra’s version may have been composed to be performed with this dramatic work. Roa makes an analysis to show the way Mudarra seems to have adapted the work (roa2015, 356-7).

From another angle, Ward describes Mudarra’s setting as a “cantus firmus parody” of the Escobar work without much further elucidation. This is not altogether convincing. Mudarra may have based his work on the same cantus firmus without reference to Escobar’s work. The origins of the cantus firmus are central to resolving this: was it by Escobar? There are no obvious links with the settings of the text in the Global Chant Database (checked 7/02/2021) The chant concordances need to be checked. This step is crucial in establishing the authorship and genesis of the work. Knighton’s article on Escobar in DMEH also gives some good leads, and certainly suggests that Mudarra’s version is related to Escobar’s.
Pujol , pp 74-75: “El canto llano de este motete coincide (aparte algunas ligeras alteraciones) con el que sobre el mismo texto corresponde al tenor alto de un motete de Pedro de Escobar que figura con el nº 9 en el Codice Colombino publicado por Elústiza y Castrillo. El texto está fragmentariamente alterado, y el contrapunto es totalmente diferente. Igual al motete del códice antedicho es el del manuscrito 12, de la Universidad de Coimbra, que Sampayo Ribeiro relaciona con el Auto de Cananeia, de Gil Vicente. Se supone que Escobar sirvió en la Corte de Don Manuel de Aviz, rey de Portugal, casado con Doña Catalina, hija de nuestros Reyes Católicos.” [See Mario Sampayo Ribeiro, Os manuscritos musicais nm.s 6 e 12 da Biblioteca Geral de Universidade de Coimbra, pp 35 and 91]. [See also Rees, note 41, in Politicas y Prácticas]
According to the Cantus Planus database [consulted 18/12/2001] this chant is for Dom. 2 Quadragisimae, a Matins Responsory, source: F-Pn lat. 12044 [Cantus ID = 600362; ChantID = mau0608]. Of the three MSS listed, one source is E:Tc [Toledo Cathedral] 44.1, fol 57v. The other two sources are French.
For further information, see Ward “The vihuela de mano”, p. 188-89. He claims Mudarra’s version to be a parody of Escobar’s motet, with the vocal line mainly drawn from the alto part of the motet, put together with some snatches from the cantus and tenor parts (when the altus rests in the vocal version). The accompaniment is original to Mudarra.
Other Spanish polyphonic settings were composed by Peñalosa, Morales, Guerrero, Ceballos.